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People in deep hypnosis explain that musical thought is the language of souls. The composition and transmission of harmonic resonance appears to relate to the formation and presentation of spiritual language. Far beyond musical communication, I'm told spiritual harmonics are the building blocks of energy creation and soul unification.
This being the other-worldly situation as corroborated by hundreds of people (note how for what you read in the newspapers, corroboration starts with just two or three), it is interesting to note how many creative souls end up doing things that are actually a commentary on who they really are. They become involved in all kinds of fiction: art, writing, theatre... creating and playing fictional characters and sometimes fictionalizing ‘real’ people. This is the case with Giacomo Puccini and the original author of the play Tosca, Victorien Sardou, whose characters include an honest painter, Cavaradossi, and his lover, the devout opera singer Tosca, alongside the villain, the evil chief of police, Baron Scarpia, who wants the rebel dead and his lover for himself. Puccini’s intense theatricality is too much for many musical purists; deliberately so, because it is not all about the music. It is not singers dressing up and trying to act; it is full-blooded musical drama. Both music and drama.
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S: (takes a deep breath) I can identify pain, but in order to diffuse it in the human body I assimilate it. This eventually makes me ineffective. I become a sponge rather than a mirror of light. Here I can practice my art.
S: I learn to manipulate my energy rather than absorb pain. The energy belt of compassion is like a liquid pool where I can swim and become part of the emotion in an experience which is so subjective I cannot describe it to you. It assists me in working on calmness within a sea of adversity. It is wondrous... it is... alive.
After he is taken off for execution, Scarpia bargains with Tosca to save him: a mock execution with a safe passage in return for sexual favours. Before she gives in, she sings the famous aria Vissi d’arte asking God what she did wrong to end up in this hell. While Scarpia drafts the document, Tosca seizes a knife from his supper table, and when he has his Weinsteinian moment she stabs him to death. Penetration takes place, only the male and female roles are reversed. When in Act III she recounts the story to her lover, she is very much the one in charge, and he plays the ‘feminine’ role of inactive admirer. For the mock execution, Tosca tells him, Cavaradossi must fall like an artist, the way she herself does on stage. However, it turns out to be a ‘fake mock execution’, a double lie, something she and the first-time viewer only find out when he fails to get up.